Pet Sounds

''Pet Sounds'' is the 11th studio album by American rock band the Beach Boys, released on May 16, 1966, by Capitol Records. It was initially met with a lukewarm critical and commercial response in the United States, peaking at number 10 on the ''Billboard'' Top LPs chart. In the United Kingdom, the album was lauded by critics and reached number 2 on the ''Record Retailer'' chart, remaining in the top ten for six months. Promoted there as "the most progressive pop album ever", ''Pet Sounds'' was recognised for its ambitious production, sophisticated music, and emotional lyrical content. It is considered to be among the greatest and most influential albums in music history.

The album was produced, arranged, and almost entirely composed by Brian Wilson with guest lyricist Tony Asher. It was recorded largely between January and April 1966, a year after Wilson had quit touring with his bandmates. His goal was to create "the greatest rock album ever made"—a cohesive work with no filler tracks. It is sometimes considered a Wilson solo album that builds upon the advancements of ''The Beach Boys Today!'' (1965). Lead single " Caroline, No" was issued as his official solo debut. It was followed by two singles credited to the group: " Sloop John B" and " Wouldn't It Be Nice" (backed with " God Only Knows").

Incorporating elements of pop, jazz, exotica, classical, and the avant-garde, Wilson's Wall of Sound-based orchestrations mixed conventional rock set-ups with elaborate layers of vocal harmonies, found sounds, and instruments never before associated with rock, such as bicycle bells, French horn, flutes, Electro-Theremin, string sections, and beverage cans. The album could not be reproduced live and was the first time that any group departed from their usual small-ensemble electric rock band format for a whole LP. An early concept album, it consists mainly of introspective songs like " I Know There's an Answer", a critique of LSD users; and " I Just Wasn't Made for These Times", the first use of a theremin-like instrument on a rock record. The album's unprecedented total production cost exceeded $70,000 (equivalent to $ in ). An expanded reissue, '' The Pet Sounds Sessions'', was released in 1997 with isolated vocals and instrumental versions, session highlights, and the album's first true stereo mix.

''Pet Sounds'' revolutionized the field of music production and the role of producers within the music industry, introduced novel approaches to orchestration, chord voicings, and structural harmonies, and furthered the cultural legitimization of popular music, a greater public appreciation for albums, the use of synthesizers, the recording studio as an instrument, and the development of psychedelic music and progressive/art rock. It has topped several critics' and musicians' polls for the best album of all time, including those published by '' NME'', '' Mojo'', ''Uncut'', and ''The Times''. In 2004, it was inducted into the National Recording Registry by the Library of Congress. It has been certified platinum by the RIAA, indicating over one million units sold.

Background

The July 1964 release of the Beach Boys' sixth album '' All Summer Long'' marked an end to the group's beach-themed period. From then, their recorded material took a significantly different stylistic and lyrical path. In January 1965, to focus his efforts on writing and recording, 22-year-old Brian Wilson declared to his bandmates that he would not accompany them on concert tours. The rest of the group – Brian's brothers Carl and Dennis, their cousin Mike Love, and their friend Al Jardine – continued to tour without Wilson, who was replaced on the road by Bruce Johnston of Bruce & Terry.

Wilson immediately showcased great advances in his musical development with the 1965 albums ''The Beach Boys Today!'' and '' Summer Days (And Summer Nights!!)''. Released in March, ''Today!'' signaled a departure from the Beach Boys' previous records with its orchestral approach, intimate subject matter, and abandonment of themes related to surfing, cars, or superficial expressions of love. Wilson also directed his new lyrical approach toward the autobiographical, with his songs written from the perspective of vulnerable, neurotic, and insecure narrators. ''Summer Days'' followed three months later and represented a bridge between Wilson's progressive musical conceptions and the group's traditional pre-1965 approach.

In April, after consuming a full dose of LSD, Wilson had what he considered to be "a very religious experience" and claimed to have seen God. A week after his first LSD trip, he began suffering from auditory hallucinations and for the remainder of the year experienced considerable paranoia. In addition to worsening his mental state, Wilson's progressive drug habits exacerbated the strain on his recent marriage to 17-year-old singer Marilyn Rovell. He believed that LSD influenced the writing of ''Pet Sounds'' because it "brought out some of the insecurities in me, which I think went into the music." Wilson also attributed his greater sense of creative freedom to his use of marijuana.

On July 12, Wilson recorded a backing track for " Sloop John B", but after laying down a rough lead vocal, he set the song aside for some time, concentrating on the recording of what became their next LP, the informal studio jam '' Beach Boys' Party!'', in response to their record company Capitol's request for a Beach Boys album for the Christmas 1965 market. In October, Wilson and his wife moved from a rented apartment in West Hollywood to a home on Laurel Way in Beverly Hills, where he said he spent the subsequent months contemplating "the new direction of the group". In a 1977 interview, Wilson stated,

Wilson devoted the last three months of 1965 to polishing the vocals of "Sloop John B" and recording six new original compositions. " The Little Girl I Once Knew", released as a standalone single in November, was the last original Beach Boys song issued before any ''Pet Sounds'' tracks. In December, Capitol issued the ''Party!'' track "Barbara Ann" as a single without the group's knowledge or approval. Brian expressed to reporters that the song was not a "produced" record and should not be considered indicative of the group's upcoming music. From January 7 to 29, the rest of the band went away on a concert tour of Japan and Hawaii.

Writing sessions

While at a recording studio in Los Angeles in 1965, Wilson met Tony Asher, a 26-year-old lyricist and copywriter working in jingles for an advertising agency. The two exchanged ideas for songs, and soon after, Wilson heard of Asher's writing abilities from mutual friend Loren Schwartz. In December, Wilson contacted Asher about a possible lyric collaboration, wanting to do something "completely different" with someone he had never written with before. Asher accepted the offer, and within ten days, they were writing together, starting with "You Still Believe in Me".

Wilson and Asher wrote together over a two-to-three week period at Wilson's home, likely between January and February 1966. A typical writing session started either with Wilson playing a melody or chord patterns that he was working on, by discussing a recent record that Wilson liked the feel of, or by discussing a subject that Wilson had always wanted to write a song about. They referred to their rough musical sketches as "feels", per the vernacular of the time. To inspire creativity, they sometimes smoked marijuana together. The lyrics to their songs were finished before the recording of any backing tracks (except for "You Still Believe in Me") and recording started virtually as soon as the compositions were written.

Asher maintained that he served mainly as a source of second opinion for Wilson as he worked out possible melodies and chord progressions, although the two did trade ideas as the songs evolved. On his role as co-lyricist, he said, "The general tenor of the lyrics was always his  ..and the actual choice of words was usually mine. I was really just his interpreter." Asher later stated that he made some significant musical contributions to " I Just Wasn't Made for These Times", " Caroline, No", and " That's Not Me".

In Marilyn's recollection, Brian worked on ''Pet Sounds'' virtually nonstop, and that when he was home, "he was either at the piano, arranging, or eating." Asher differed, "I wish I could say Brian was totally committed o writing the songs Let's say he was ... um, very ''concerned''." After their songs were completed, Asher visited a few of the recording sessions, most of which were string overdub dates.

Wilson wrote two more songs with other collaborators. " I Know There's an Answer", which predated the collaboration with Asher, was co-written by Wilson with the Beach Boys' road manager Terry Sachen. In 1994, Mike Love was awarded co-writing credits on " Wouldn't It Be Nice" and "I Know There's an Answer", but with the exception of his co-credit on "I'm Waiting for the Day", his songwriting contributions are thought to have been minimal.

Concept and inspiration

Phil Spector and ''Rubber Soul''

Commentators and historians frequently cite ''Pet Sounds'' as a concept album. Academic Carys Wyn Jones attributes this to the album's "uniform excellence" rather than a lyrical theme or musical motif. Wilson described ''Pet Sounds'' as an "interpretation" of Phil Spector's Wall of Sound production technique. He stated: "If you take the ''Pet Sounds'' album as a collection of art pieces, each designed to stand alone, yet which belong together, you'll see what I was aiming at.  ..It wasn't really a ''song'' concept album, or ''lyrically'' a concept album; it was really a ''production'' concept album."

With ''Pet Sounds'', Wilson desired to make "a complete statement", similar to what he believed the Beatles had done with their newest album ''Rubber Soul'', released in December 1965. The version of the album that he heard was the alternate American edition, whose track listing had been configured by Capitol to have a cohesive folk rock sound. Wilson was impressed that the album appeared to lack filler, a feature that was mostly unheard of at a time when more attention was afforded to 45 rpm singles than to full-length LPs. Most albums up until the mid-1960s were largely used to sell singles at a higher price point. Wilson found that ''Rubber Soul'' subverted this by having a wholly consistent thread of music. Inspired, he rushed to his wife and proclaimed, "Marilyn, I'm gonna make the greatest album! The greatest rock album ever made!"

Comparing ''Pet Sounds'' to ''Rubber Soul'', author Michael Zager wrote that ''Pet Sounds'' has more in common with Spector's productions, and that the album recycles many of Spector's Wall of Sound production watermarks. Wilson said that he was especially fascinated by the process of combining sounds "to make another", and for ''Pet Sounds'', sought to emulate those aspects of Spector's productions. In a 1988 interview, Wilson said that his goal for the album was to "extend" Spector's music, as he believed that, "in one sense of the word", the Beach Boys were Spector's "messengers".

On another occasion, Wilson credited ''Rubber Soul'' as his "main motivator" for ''Pet Sounds''. He explained that he had wanted to create music "on the same level" as ''Rubber Soul'', but was not interested in copying the Beatles' sound. In a 1966 interview, he said that the scale of the arrangements was the "main difference" between their musical styles, noting that if he had arranged the ''Rubber Soul'' track " Norwegian Wood", he would have "orchestrated it, put in background voices, nddone a thousand things". In 2009, he said that although "''Rubber Soul'' didn't clarify my ideas for ''Pet Sounds''", the Beatles' use of sitar had inspired his choice of instrumentation for the album.

Pre-rock 'n' roll pop and other influences

Asher disputed the notion that he and Wilson were following the models that had been set by Beatles or rock music in general. Asher remembered, "Brian had defined it as wanting to write something closer to classical American love songs, like Cole Porter or Rodgers and Hammerstein." During the writing sessions, Asher and Wilson regularly introduced different albums and types of music to each other. In particular, Asher said that Wilson "was blown away" after being played jazz records including Duke Ellington's "Sophisticated Lady" and Lionel Hampton's rendition of "All the Things You Are songs and "hadn't given much thought to the structure or instrumentation of orchestral jazz compositions." Having had experience with recording orchestras, Asher encouraged Wilson to employ instruments such as violins, cellos, and bass flutes.

In a March 1966 article, Wilson acknowledged that the popular music trends of the era had also influenced his work and the group's evolution. Conversely, Marilyn recalled that Brian was only consumed by thoughts of creating the greatest rock album ever and "did not think about what music was there on the market, or what was happening in the industry." In a 1996 interview, he said that he and Asher were "kind of like on our own little wavelength" and were not concerned with overtaking Phil Spector or Motown, "It was more what I would call exclusive collaboration not to specifically try to kick somebody's butt, but just to do it the way you really want it to be. That's what I thought we did."

Genre

Stylistic blend and debate

''Pet Sounds'' incorporates elements of pop, jazz, classical, exotica, and avant-garde music. Genres that have been attributed to the album as a whole include progressive pop, chamber pop, psychedelic pop, and art rock. Wilson himself thought of the album as "chapel rock  ..commercial choir music. I wanted to make an album that would stand up in ten years."

According to biographer Jon Stebbins, "Brian defies any notion of genre safety ..There isn't much rocking here, and even less rolling. ''Pet Sounds'' is at times futuristic, progressive, and experimental.  ..there's no boogie, no woogie, and the only blues are in the themes and in Brian's voice." Bruce Johnston identified "a tremendous amount" of noticeable doo-wop and R&B influences. Journalist D. Strauss challenged the notion of whether ''Pet Sounds'' should be regarded as rock music. He argued that the album's quality and subversion of rock traditions is "what created its special place in rock history; there was no category for its fans to place it in ..But placed within the Easy Listening genre-i.e., elevator music-it becomes a historically grounded, if incredibly ambitious, release."

Although it has been called "baroque pop", the often-specious term was not used in critical discussions about ''Pet Sounds'' until rock critics in the 1990s began adopting the phrase in reference to artists that the album had influenced. No contemporary press material referred to ''Pet Sounds'' as "baroque", and instead, commentators used "progressive" as their descriptor of choice. Writing in 2021, academic John Howland argued that the album's baroque-pop aesthetic was limited to " God Only Knows".

Psychedelia

''Pet Sounds'' is often considered to be psychedelic rock, but many commentators hesitate to name the Beach Boys in discussions of psychedelic music. For example, in his book ''The Acid Trip: A Complete Guide to Psychedelic Music'', Vernon Joyson agreed that ''Pet Sounds'' contained psychedelic gestures, but chose not to devote significant coverage to the album because he felt that the Beach Boys had "essentially predated the psychedelic era". In the belief of cultural historian Dale Carter, these psychedelic qualities are shown through rich "sonic textures", "greater fluidity, elaboration, and formal complexity", "the introduction of new (combinations of) instruments, multiple keys, and/or floating tonal centers", and the occasional use of "slower, more hypnotic tempos".

Jim DeRogatis, author of a book about psychedelic music, surmised that Wilson's LSD use led him to write more introspective work, a contrast from the Beatles, who after taking LSD began addressing problems in the world around them. According to academics Paul Hegarty and Martin Halliwell, ''Pet Sounds'' has a "personal intimacy" that sets it apart from the Beach Boys' contemporaries in psychedelic culture and the San Francisco Sound, but still retains a "trippy feel" that resulted from Wilson's experimental use of LSD. They also attribute this to Wilson's "eclectic mixture of instruments, echo, reverb, and innovative mixing techniques learnt from Phil Spector to create a complex soundscape in which voice and music interweave tightly". Stebbins writes that the album is "slightly psychedelic—or at least impressionistic." Wilson himself felt that while psychedelic features are present in a number of the songs, the overall tone was "mostly not psychedelic".

Among other reasons given for the album's perceived psychedelic quality, DeRogatis writes that the repeated listening value is similar to a heightened psychedelic awareness, elaborating that its melodies "continue to reveal themselves after dozens of listens, just as previously unnoticed corners of the world reveal themselves during the psychedelic experience". Musician Sean Lennon opined that "psychedelic music is a term that pretty much refers to these sort of epic, ambitious long-form records  ..the reason ''Pet Sounds'' is considered a psychedelic journey or whatever is because it's like opening a door and stepping through and entering another world and you're in that other world for a period of time and then you come back."

Music and lyrics

Orchestrations and composition

''Pet Sounds'' refined the themes and complex arranging style Wilson had introduced with ''The Beach Boys Today!''. Writing in ''The Journal on the Art of Record Production'', Marshall Heiser observed that the album's music distinguished itself from previous Beach Boys releases in several ways:
* "a greater sense of depth and 'warmth'"
* "more inventive use of harmony and chord voicings"
* "the prominent use of percussion sa key feature (as opposed to driving drum backbeats)"
* "the orchestrations, hichat times, echo the quirkiness of 'exotica' bandleader Les Baxter, or the 'cool' of Burt Bacharach, more so than hilSpector's teen fanfares."

By contrast, musicologist Daniel Harrison contends that Wilson's advancement as a composer and arranger was marginal in relation to his past work. He wrote that ''Pet Sounds'' shows "comparatively little advance from what Brian had already accomplished or shown himself capable of accomplishing. Most of the songs use unusual harmonic progressions and unexpected disruptions of hypermeter, both features that were met in ' Warmth of the Sun' and 'Don't Back Down.'" Granata referred to ''Pet Sounds'' as the culmination of Wilson's songwriting artistry, although his "transition from writing car and surf songs to writing studious ones" had already "exploded in 1965".

''Pet Sounds'' includes tempo changes, metrical ambiguity, and unusual tone colors that, in the opinion of author James Perone, remove the album from "just about anything else that was going on in 1966 pop music". He cites the album's closer " Caroline, No" and its use of wide tessitura changes, wide melodic intervals, and instrumentation which contribute to this belief; also Wilson's compositions and orchestral arrangements which experiment with form and tone colors. Wilson's arrangements combined traditional rock set-ups with unconventional selections of instruments and complex layers of vocal harmonies. His orchestrations, in terms of the choices of instruments themselves and the stylistic appropriation of foreign cultures, were similar to those by exotica producers such as Martin Denny, Les Baxter, and Esquivel. Many of the instruments were alien to rock music, including glockenspiel, ukulele, accordion, Electro-Theremin, bongos, harpsichord, violin, viola, cello, trombone, Coca-Cola bottles, and other odd sounds such as bicycle bells.

The number of unique instruments for each track average to about a dozen. Electric and acoustic basses were frequently doubled, as was typical for the era's pop music, and played with a plectrum. Drums were not arranged in a traditional manner of keeping time, but instead, to provide "rhythmic texture and color". Two tracks are instrumentals: " Let's Go Away for Awhile" and " Pet Sounds". They were originally recorded as backing tracks for existing songs, but by the time the album neared completion, Wilson decided that the tracks worked better without vocals. Arranger Paul Mertens, who collaborated with Wilson on live performances of the album, believed that although there are string sections on ''Pet Sounds'', "what's special about that is not that Brian was trying to introduce classical music into rock & roll. Rather, he was trying to get classical musicians to play like rock musicians. He's using these things to make music in the way that he understood, rather than trying to appropriate the orchestra."

Introspective, coming-of-age themes

Asher stated that Wilson aspired to create a collection of songs that were relatable to adolescents. "Even though he was dealing in the most advanced score-charts and arrangements, he was still incredibly conscious of this commercial thing. This absolute need to relate." Carl Wilson offered: "The disappointment and the loss of innocence that everyone had to go through when they grow up and find everything's not Hollywood are the recurrent themes on that album."

Brian drew on his recent marital struggles for much of the album's pessimistic and dejected lyric content. His then-wife Marilyn felt that their relationship was a central reference within the album's lyrics, namely on "You Still Believe in Me" and "Caroline, No". According to Asher, he and Wilson had many lengthy, intimate discussions centered around their "experiences and feelings about women and the various stages of relationships and so forth". This included Wilson's doubts about his marriage, his "sexual fantasies", and "his apparent need to get with is sister-in-lawDiane."

According to AllMusic reviewer Jim Esch, the opening track "Wouldn't It Be Nice" inaugurates the album's pervasive theme of "fragile lovers" who struggle with "self-imposed romantic expectations and personal limitations, while simultaneously trying to maintain faith in one other." Comparing the group's past celebrations of adolescence and teenage romance, journalist Seth Rogovoy felt that ''Pet Sounds'' "upends and overturns every Beach Boys cliché, exposing the hollowness at their core." Rogovoy points to "Wouldn't It Be Nice", which "starts right out with a 180-degree turn – 'Wouldn't it be nice if we were ''older''.'"

Critics Richard Goldstein and Nik Cohn found that the album's melancholic lyrics sometimes jarred with the overall tone of the music. Cohn suggested that ''Pet Sounds'' comprised "sad songs about loneliness and heartache; sad songs even about happiness." ''Rolling Stone'' editor David Wild wrote that the lyrics were "intelligent and moving, but ..not pretentious", much like the songs of Tin Pan Alley.

Perceived storyline

It is sometimes suggested that ''Pet Sounds'' tells a story about the unraveling of a romantic relationship. Author Scott Schinder argued that Wilson and Asher crafted a song cycle about "the emotional challenges accompanying the transition from youth to adulthood", supplemented with "a series of intimate, hymn-like love songs". Even though ''Pet Sounds'' has a virtually unified theme in its emotional content, there was no intended narrative. Asher said that there were no conversations between him and Wilson that pertained to any specific album "concept", however, "that's not to say that riandidn't have the capacity to steer it in that direction, even unconsciously." Musicologist Philip Lambert argued that Wilson must have intended the album to have a narrative framework due to the likelihood of his familiarity with similar "theme albums" by Frank Sinatra and the Four Freshmen.

Responding to the songwriters' denials of a conscious lyric theme, journalist Nick Kent observed that the album's lyrics show "the male participant's attempts at coming to terms with himself and the world about him" and that every song "pinpoints a crisis of faith in love and life" with the exception of "Sloop John B" and the two instrumental pieces. Writing in his book ''The Making of Pet Sounds'' (2003), Charles Granata referenced "Sloop John B" and "Pet Sounds" as the tracks that undermine the album's "thematic thread" and supposed lyrical narrative, yet "contribute to the marvelous pacing".

Structures and harmonies

In Lambert's estimation, the album's "overall unity" is strengthened by "strong musical relationships among songs", for example, the use of 4–3–2–1 stepwise descents and the reverse. Perone concurred that the album contains musical continuity. On "You Still Believe in Me", he references a "stepwise falloff of the interval of a third at the end of each verse" as a typically "Wilsonian" feature that recurs throughout the album, along with a "madrigal sigh motif" that can be heard in "That's Not Me", where the motif concludes each line of the verses.

Wilson tended to write vertically, in block chords, rather than in the horizontal manner of classical composition. An overwhelming majority of the chords are slashed, diminished, major seventh, sixths, ninths, augmented, or suspended. Simple (major or minor triad) chords are invoked minimally. The bass lines were written melodically and tend to play parts that avoid focusing on tonic notes. According to Lambert, one of the album's few recurring compositional features that did not reflect a recent trend in Wilson's songwriting were bass lines that descend from 1 to 5.

Only four tracks feature a single strongly established key. The rest feature a primary and secondary key or a weak tonal center. Tertian key modulations feature throughout the album and many of the choices of key signatures in themselves were unusual. For example, "You Still Believe in Me" is in B, which keyboardists avoid due to the number of sharps/flats, while "That's Not Me" is in F, the most distant key from C. Submediants, major or minor, are invoked in a manner that Lambert calls "an important source of overall unity". With the exception of "God Only Knows", every composition on the album that shifts keys or has an ambiguous tonal center "uses essentially the same tonic–submediant relation." Fusilli offered that Wilson's tendency to "wander far from the logic of his composition only to return triumphantly to confirm the emotional intent of his work" is repeated numerous times in ''Pet Sounds'', but never to "evoke a sense of unbridled joy" as Wilson recently had with "The Little Girl I Once Knew".

Compared to previous Beach Boys albums, ''Pet Sounds'' contains fewer vocal harmonies, but the types of vocal harmonies themselves are more complex and varied. Instead of simple "oo" harmonies, the band showed an increasing engagement in multiple vocal counterpoints. There is also a greater occurrence of doo-wop style nonsense syllables, appearing more times here than on any of their previous albums. Wilson invokes his signature falsetto seven times on the album. With the exception of ''Today!'', this was the most he had on a Beach Boys album since 1963's '' Surfer Girl''.

Recording

Backing tracks

With the exception of three tracks, ''Pet Sounds'' was recorded from January 18 to April 13, 1966, and spanned 27 session dates. Instrumental sessions were conducted at Western Studio 3 of United Western Recorders, except for a few tracks that were recorded at Gold Star Studios and Sunset Sound Recorders. Wilson produced the sessions with his usual engineer, Western's Chuck Britz. Although Phil Spector created all of his recordings at Gold Star, Wilson preferred working at Western for the studio's privacy and for the presence of Britz.

For the backing tracks, Wilson used an ensemble that included the classically trained session musicians frequently employed on Spector's records, a group later nicknamed " the Wrecking Crew". Wilson had been employing the services of session musicians due to the increasingly complex nature of his arrangements and because his bandmates were often away playing concerts. Carl, who had occasionally played guitar alongside these musicians at Brian's sessions, commented that his contributions were not as significant as before and that "It really wasn't appropriate for us he bandto play on those 'Pet Sounds''dates—the tracking just got beyond us."

Wilson said that he "was sort of a square" with his musicians, starting his creative process with how each instrument sounded one-by-one, moving from keyboards, drums, then violins if they were not overdubbed. A backing track session would last for three hours at minimum. Britz remembered how most of the time was spent perfecting individual sounds: " rianknew basically every instrument he wanted to hear, and how he wanted to hear it. What he would do is call in all the musicians at one time (which was very costly), but still, that's the way he would do it."

Although Wilson often had entire arrangements worked out in his head, they were usually written in a shorthand form for the other players by one of his session musicians. He also took advice and suggestions from his musicians and even incorporated apparent mistakes if they provided a useful or interesting alternative. Session drummer Hal Blaine stated, "Everyone helped arrange, as far as I'm concerned." On notation and arranging, Wilson explained: "Sometimes I'd just write out a chord sheet and that would be for piano, organ, or harpsichord or anything.  ..I wrote out all the horn charts separate from the keyboards. I wrote one basic keyboard chart, violins, horns, and basses, and percussion."

Discussing Spector's Wall of Sound technique, Wilson identified the tack piano and organ mix in "I Know There's an Answer" as one example of himself applying the method. Compared to Spector, Brian produced tracks that were of greater technical complexity by using state-of-the-art four-track and eight-track recorders. Most backing tracks were recorded onto a Scully four-track 288 tape recorder before being later dubbed down (in mono) onto one track of an eight-track machine. Wilson typically divided instruments by three tracks: drums–percussion–keyboard, horns, and bass–additional percussion–guitar. The fourth track usually contained a rough reference mix used during playback at the session, later to be erased for overdubs such as a string section. "Once he had what he wanted," Britz said, "I would give Brian a 7-1/2 IPS apecopy of the track, and he would take it home."

Group infighting

''Pet Sounds'' is sometimes considered a Brian Wilson solo album, including by Wilson himself, who later referred to it as his "first solo album" and "a chance to step outside the group and shine". With the exception of Mike Love, who had been previewed tracks over the phone by Wilson, the other members were not consulted on any aspect of the record. When they returned to the studio on February 9, they were presented with a substantial portion of the album, with music that was in many ways a jarring departure from their earlier style.

According to various reports, the group fought over the new direction. However, Dennis denied that anyone in the group had disliked ''Pet Sounds'', calling the rumors "interesting". He said that there was "not one person in the group that could come close to Brian's talent" and "couldn't imagine who" would have resisted Brian's leadership. Carl supported that such accusations were "bullshit" before adding, "We ''loved'' that record. Everybody loved that record, it was a joy to make." Jardine differed in his recollection, "I wasn't exactly thrilled with the change n music style but I grew to really appreciate it as soon as we started to work on it. It wasn't like anything we'd heard before." He explained that "it took us quite a while to adjust to he new materialbecause it wasn't music you could necessarily dance to—it was more like music you could make love to."

Whatever objections the band members may have had were mostly reserved for the lyrics, not the music itself. Musically, they were concerned about how they would reproduce the songs in concert. Love said that his only disagreement pertained to the lyrics of "Hang On to Your Ego", although Jardine remembered that Love was generally "very confused" about the album: "Mike's a formula hound – if it doesn't have a hook in it, if he can't hear a hook in it, he doesn't want to know about it." In defense of Love, Asher said that " ikenever was critical about what he album''was'', he was just saying it wasn't right for the Beach Boys." Asher said that Jardine had shared this viewpoint.

Brian recalled that the group "liked he new musicbut they said it was too arty. I said, 'No, it is not!" Marilyn said: "When Brian was writing ''Pet Sounds'', it was difficult for the guys to understand what he was going through emotionally and what he wanted to create.  ..they didn't feel what he was going through and what direction he was trying to go in." Asher remembered: "All those guys in the band, certainly Al, Dennis, and Mike, were constantly saying, 'What the fuck do these words mean?' or 'This isn't our kind of shit!' Brian had comebacks, though. He'd say, 'Oh, you guys can't hack this.'... But I remember thinking that those were tense sessions."

Another concern among his bandmates, according to Brian, was whether he would leave the group and pursue a solo career. Brian said, "it was generally considered that the Beach Boys were the main thing  ..with ''Pet Sounds'', there was a resistance in that I was doing most of the artistic work on it vocally". Love wrote that he "would have liked to have had a greater hand in some of the songs and been able to incorporate more often my 'lead voice,' which we'd had so much success with." Brian acknowledged that he had taken up most of the vocals "because I thought, in a way, I wanted people to know it was more of a Brian Wilson album than a Beach Boys album." He said the conflicts were resolved when his bandmates "figured that it was a showcase for Brian Wilson, but it's still the Beach Boys. In other words, they gave in. They let me have my little stint."

Vocals

Vocal overdubs were tracked at Western and CBS Columbia Square. The Beach Boys rarely knew their parts before arriving in the studio. Britz: "Most of the time, they were never ready to sing. They would rehearse in the studio. Actually, there was no such thing as rehearsal. They'd get on mike right off the bat, practically, and start singing." According to Jardine, each member was taught their individual vocal lines by Brian at a piano. He explains, "Every night we'd come in for a playback. We'd sit around and listen to what we did the night before. Someone might say, well, that's pretty good but we can do that better." This process proved to be the most exacting work the group had undertaken yet. During recording, Mike Love often called Brian "dog ears", a nickname referencing a canine's ability to detect sounds far beyond the limits of human hearing. Love later summarized:

For microphones, they used two Neumann U-47s for Dennis, Carl and Jardine and a Shure 545 for Brian's leads. Love sang most of the album's bass vocals, and necessitated an extra microphone due to his low volume range. By the time of ''Pet Sounds'', Wilson was using up to six of the eight tracks on the multitrack master so that he could record the voice of each member separately, allowing him greater control over the vocal balance in the final mix. After mixing down the four-track to mono for overdubbing via an eight-track recorder, six of the remaining seven tracks were usually dedicated to each of the Beach Boys' vocals. The last track was usually reserved for additional elements such as extra vocals or instrumentation. The vocals for five of the album's songs were recorded at Columbia because it was the only facility in Los Angeles with an eight-track recorder.

Effects and mixdown

Similar to subsequent experimental rock LPs by Frank Zappa, the Beatles, and the Who, ''Pet Sounds'' featured countertextural aspects that called attention to the very recordedness of the album. Tape effects were limited to slapback echo and reverb. Archivist Mark Linett notes: "to my ears, it sounds more like the plate everberatorsrather than chambers. It should be mentioned that you get a significantly different sound from a chamber when you record it 'live' as opposed to doing it off tape, and one reason these records sound the way they do is that the reverb was being printed as part of the recording – unlike today where we'll record 'dry' and add the effects later." One of Wilson's favorite techniques was to apply reverb exclusively to a timpani, as can be heard in "Wouldn't It Be Nice", "You Still Believe in Me", and "Don't Talk".

On April 13, 1966, the album's final vocal overdubbing session, for "Here Today", concluded a ten-month-long recording period that had begun with "Sloop John B" in July 1965. The album was mixed three days later in a single nine-hour session. Most of the session was spent mixing down the vocals to fit with the instrumentals, which had already been locked into one mono track. The album's original mono master ultimately featured many technical flaws that contrast the refined arrangements and performances. One of the most prominent examples occurs in "Wouldn't It Be Nice", where an audible tape splice is heard between the chorus and Mike Love's vocal entrance in the bridge. A similar anomaly is heard in the instrumental break of "Here Today", where a distant conversation was accidentally captured during a vocal overdub. In David Leaf's view, "It's not sloppy recording, it's part of the music."

A true stereophonic mix of ''Pet Sounds'' was not considered in 1966 largely because of mixing logistics. In spite of whether a true stereo mix was possible, Wilson intentionally mixed the final version of his recordings in mono (as did Spector). He did this because he felt that mono mastering provided more sonic control over the final result, irrespective of the vagaries of speaker placement and sound system quality. Another and more personal reason for Brian's preference for mono was his almost total deafness in his right ear. At the end, the total cost of production amounted to a then-unheard of $70,000 (equivalent to $ in ).

Tracks

Side one

"Wouldn't It Be Nice"

" Wouldn't It Be Nice" describes a young couple fantasizing about the romantic freedom they would earn as adults. Asher said that it was the only song on the album in which he wrote words to a melody that Brian had already finalized. The group's vocal performance took longer to record than any other track on the album, as Wilson's bandmates struggled to sing the multiple vocal parts to his satisfaction.

"You Still Believe in Me"

"You Still Believe in Me" contains the first expression of introspective themes that pervade the rest of the album. The lyric discusses a narrator who, while acknowledging their irresponsible behavior and unfaithfulness, is impressed by the unwavering loyalty of their lover. In Wilson's words, the song was about a man who feels free to express his love for people from the perspective of a girl. Wilson and Asher created the song's ethereal intro by plucking a piano's strings with a bobby pin.

"That's Not Me"

" That's Not Me" contains multiple key modulations and mood shifts and is the track that most closely resembles a conventional rock song. The lyric illustrates a young man in his path toward self-discovery, with the realization that he is better living with a lover than pursuing a life of solitude in service to his dream. It is the only track on the album where most of the instrumentation was played by the band members themselves.

"Don't Talk (Put Your Head on My Shoulder)"

"Don't Talk (Put Your Head on My Shoulder)" is among the most harmonically complex songs that Wilson ever wrote. The subject matter involves non-verbal communication between lovers. According to Asher, "It's strange to sit down and write a song about not talking ..but we managed to do it".

"I'm Waiting for the Day"

"I'm Waiting for the Day" features jazz chords, a doo-wop progression, timpani blasts, English horn, flutes, and a string section interlude. Carl Wilson praised the arrangement, saying, "The intro is very big, then it gets quite small with the vocal in the verse with a little instrumentation and then, in the chorus, it gets very big again, with the background harmonies against the lead. It is perhaps one of the most dynamic moments in the album."

Lyrically, it is about a boy who falls in love with a broken-hearted girl who is reluctant to commit herself to another relationship. The song was copyrighted by Brian as a solo composition in February 1964, indicating that it predated the album's sessions by some years. It was co-credited to Love, who made a minor adjustment to Wilson's lyrics.

"Let's Go Away for Awhile"

" Let's Go Away for Awhile" is an instrumental that features 12 violins, piano, four saxophones, oboe, vibraphones, and a Coca-Cola bottle used as a guitar slide. In 1966, Wilson considered the track to be "the finest piece of art" he had made up to that point, and said that every component of its production "worked perfectly".

"Sloop John B"

At the suggestion of Al Jardine, Wilson arranged a version of " Sloop John B", a traditional Caribbean folk song that Jardine had learned from listening to the Kingston Trio. His arrangement blended rock and marching band instrumentation with the use of flutes, glockenspiel, baritone saxophone, bass, guitar, and drums. Jardine likened the result to John Philip Sousa. Wilson elected to change the original lyrics from "this is the worst trip since I've been born" to "this is the worst trip I've ever been on". This may have been done as a deliberate reference to acid trips.

Brian included "Sloop John B" on ''Pet Sounds'' to appease Capitol Records, who had expected "Sloop John B" to be a hit single and wanted to capitalize on its success by including the track on ''Pet Sounds''. The song is often said to disrupt the album's lyrical flow, as author Jim Fusilli explains: "It's anything but a reflective love song, a stark confession or a tentative statement of independence like the other songs on the album. And it's the only song on ''Pet Sounds'' Brian didn't write."

Fusilli posits that the track fits musically with the album, citing the track's chiming guitars, doubletracked basses, and staccato rhythms. Noting that a sense of self-doubt, concern for the future of a relationship, and melancholy pervades ''Pet Sounds'', Perone says the song successfully portrays a sailor who feels "completely out of place in his situation", a quality that is "fully in keeping with the general feeling of disorientation that runs through so many of the songs." DeRogatis agreed, citing the key lyric "I want to go home", which reflects other songs themed around an escape to somewhere peaceful — namely, "Let's Go Away for Awhile" and "Caroline, No".

Side two

"God Only Knows"

" God Only Knows" is often praised as one of the greatest songs ever written. Wilson reflected: "I think Tony sherhad a musical influence on me somehow. After about ten years, I started thinking about it deeper  ..because I had never written that kind of song. And I remember him talking about ' Stella by Starlight' and he had a certain love for classic songs." The musical structure contains an ambiguous tonal center and non-diatonic chords. According to musicologist Stephen Downes, this quality made the song innovative not just in pop music, but also for the Baroque style it is emulating.

"I Know There's an Answer"

" I Know There's an Answer", originally titled "Hang On to Your Ego", portrays someone who hesitates to tell people the way that they live could be better. The lyrics created a stir within the group due to its references to drug culture. Loren Schwartz, who introduced Wilson to LSD, recounted that Wilson had "had the full-on ego death. It was a beautiful thing." In 1999, Wilson explained that the original chorus line had "an inappropriate lyric.  ..I just thought that to say 'Hang on to your ego' was an ego statement in and of itself, which I wasn't going for, so I changed it. I gave it a lot of thought." The song features a bass harmonica solo played by session musician Tommy Morgan.

"Here Today"

" Here Today" is told from the perspective of an ex-boyfriend narrator who warns the listener of the inevitable heartbreak that will result from a newfound love. The track was an experiment in basslines, as Brian recalled, "I wanted to conceive the idea of a bass guitar playing an octave higher than regular, and showcase it as the principal instrument on the track." Asher said, "'Here Today' contains a little more of me both lyrically and melodically than Brian." Perone noted that the high-pitched electric bass guitar bring to mind similar parts in "God Only Knows", culminating in what sounds like the vocal protagonist of "Here Today" warning the protagonist of "God Only Knows" that what he sings stands no chance at longevity.

"I Just Wasn't Made for These Times"

" I Just Wasn't Made for These Times" features lyrics about feeling alienated by society. Brian said: "It's about a guy who was crying because he thought he was too advanced, and that he'd eventually have to leave people behind. All my friends thought I was crazy to do ''Pet Sounds''." For the track, he employed harpsichord, tack piano, flutes, temple blocks, timpani, banjo, harmonica, Fender bass, and most unusually, an Electro-Theremin performed by the instrument's inventor Paul Tanner. According to Lambert, the strongest musical indication of Wilson's progressive vision for the album is heard in the cumulative vocal layering in the chorus, with each line sung by Wilson via overdubs.

"Pet Sounds"

"Run, James, Run" was the working title for the instrumental " Pet Sounds", the suggestion being that it would be offered for use in a James Bond movie. According to Perone, the track represents the Beach Boys' surf heritage more than any other track on the album with its emphasis on lead guitar, however, it is not truly a surf composition due to the elaborate arrangement involving countless auxiliary percussion parts, abruptly changing textures, and de-emphasis of a traditional rock band drum set. Lambert describes the track as a "musical synopsis" of the album's "primary musical themes" that functions as a respite for the narrator following the realizations of "Here Today".

"Caroline, No"

" Caroline, No" is about the loss of innocence. Asher conceived the title as "Carol, I Know". When spoken, however, Brian heard this as "Caroline, No", which Asher thought was "a much stronger and more interesting line than the one I had in mind." Brian considered the song "probably the best I've ever written", summarizing, "It's a pretty love song about how this guy and this girl lost it and there's no way to get it back. I just felt sad, so I wrote a sad song." The track is introduced by the sound of a plastic Sparkletts water cooler jug being hit with a hard percussion mallet. As the song fades, it segues into a recorded excerpt of Brian's dogs barking accompanied by a sample of passing trains taken from the 1963 sound effects LP ''Mister D's Machine''.

Leftover material

"The Little Girl I Once Knew"

"The Little Girl I Once Knew", which may be considered part of the ''Pet Sounds'' sessions, was not included on the album. Writer Neal Umphred speculated that the song might have been considered for the LP and would have probably been included had the single been more commercially successful.

Instrumentals

On October 15, 1965, Wilson went to the studio with a 43-piece orchestra to record an instrumental piece entitled "Three Blind Mice", which bore no musical connection to the nursery rhyme of the same name. On the same day, he recorded instrumental versions of the standards " How Deep Is the Ocean" and " Stella by Starlight". According to Leaf, it was a coincidence that the latter turned out to be a favorite of Asher's. Biographer Mark Dillon surmised that these recordings were never meant for release, and that they were merely experimental exercises in recording orchestras, possibly in anticipation for the string ensemble required for "Don't Talk".

Another instrumental, "Trombone Dixie", was recorded on November 1. According to Wilson, "I was just foolin' around one day, fuckin' around with the musicians, and I took that arrangement out of my briefcase and we did it in 20 minutes. It was nothing, there was really nothing in it." It was released as a bonus track on the album's 1990 CD reissue.

"Good Vibrations"

In February and March 1966, Wilson began recording an unfinished song he wrote with Asher, "Good Vibrations", between sessions for "I Just Wasn't Made for These Times" and "God Only Knows". Asher recalled that the song was conceived in response to Capitol's demand for a new single. Brian ultimately delivered "Sloop John B" to the label instead, and to the band's disappointment, chose not to include "Good Vibrations" on the album. The track was replaced by "Pet Sounds" as indicated by a Capitol Records memo dated March 3. Johnston and Jardine later expressed regrets with Wilson's decision, as they felt that including "Good Vibrations" would have bolstered the sales of ''Pet Sounds''. However, the song was not completed until many months later, in September, and after much reworking. Wilson's bandmates prevailed against him to include "Good Vibrations" on their next album, ''Smiley Smile'' (1967).

Other recordings

In late 1965, Wilson devoted some ''Pet Sounds'' sessions to experimental indulgences such as an extended ''a cappella'' run-through of the children's song "Row, Row, Row Your Boat" that exploited the song's use of rounds. Granata called the piece "very low-key and relatively simple", but an "effectively lavish layer of recorded vocal harmonies". Humorous skits and sound effects were also recorded in an attempt to create a psychedelic comedy album. At least two sketches survive, "Dick" and "Fuzz", which feature Brian, a woman named Carol, and the Honeys, a girl group that included Marilyn. These recordings remain unreleased.

"Dick" involves an exchange between Brian and Carol: "What's long and thin and full of skin and heaven knows how many holes it's been in?" "Dick?" "No, a worm." The participants then burst into forced laughter. According to documentarian Keith Badman, "Just as with his music, Brian insists on perfection for 'Dick' and ixfurther takes are made by Carol to tell the joke." "Fuzz" involves a similar joke: "What's black and white and has fuzz inside?" "A lorry?" "A police car." Carol then asks Wilson if he has hemorrhoids: "No." "Well let me shake your hand." "Why?" "It's really great knowing a perfect asshole."

Packaging

Sleeve design

The front sleeve depicts a snapshot of the band – from left, they are Carl, Brian, and Dennis Wilson; Mike Love; and Al Jardine – feeding pieces of apples to seven goats at the San Diego Zoo while dressed in coats and sweaters. A green band header announces the titles of the artist, album, and each track on the LP, all written in the Cooper Black typeface. Bruce Johnston, who joined the band as an unofficial member one year earlier, does not appear on the front cover due to contractual restraints from Columbia Records. On the reverse side, the sleeve contained a montage of monochrome photos depicting the touring band on-stage and posing in samurai outfits during their tour of Japan, as well as two photos of Brian.

Jardine expressed disappointment with the zoo photo and said he had "wanted a more sensitive and enlightening cover." Johnston referred to it as the "worst cover in the history of the record business", while Carlin opined that the backside of the LP was "perhaps an even worse design idea than the goat shot". Author Peter Doggett writes that the design was at odds with the increasingly sophisticated cover portraits used on releases by artists such as the Beatles, the Rolling Stones and Bob Dylan over 1965–67. He highlights it as "a warning of what could happen when music and image parted company: songs of high romanticism, an album cover of stark banality."

Title and cover photo

Writing in his memoir, Love said that Capitol planned the cover shoot after the company had conceived the would-be album title ''Our Freaky Friends'', with the animals representing the group's "freaky friends". When questioned about the cover in 2016, Wilson could not recall who thought of going to the zoo. Jardine remembered that the ''Pet Sounds'' title had already been decided, and that until arriving to the photo shoot, he thought that "pet" referred to slang for making out ("petting"). He credited Capitol's art department with the idea. Some sources claim that ''Remember the Zoo'' was another working title, but the name was actually part of a hoax that had originated from a Beach Boys fanzine in the 1990s.

The cover photo was taken on February 10, 1966, by photographer George Jerman. Local reporters from KFMB-TV filmed the shoot. According to a contemporary report by the ''San Diego Union'', the group "came down from Hollywood to take a cover picture for their forthcoming album ''Our Freaky Friends''.  ..Zoo officials were not keen about having their beloved beasts connected with the title of the album, but gave in when the Beach Boys explained that animals are an 'in' thing with teenagers. And that the Beach Boys were rushing to beat the rock and roll group called The Animals." The group was subsequently banned from the zoo, as the staff had accused them of mishandling the animals. Johnston said, "The goats were horrible!  ..The zoo said we were torturing the animals but they should have seen what we had to go through. We were doing all the suffering."

A taped conversation from the March 1966 dog barking session for "Caroline, No" reveals that Brian considered photographing a horse belonging to Carl in Western Studio 3 for the album cover. Wilson told biographer Byron Preiss that the album was named "after the dogs  ..That was the whole idea". Love credited himself with titling the album ''Pet Sounds'', a claim supported by Wilson and Jardine in a 2016 interview. In 1996, Love recalled that he came up with the name while he and his bandmates were standing in the hallway of Western or Columbia studio. He said, "we didn't have a title.  ..We had taken pictures at the zoo and  ..there were animal sounds on the record, and we were thinking, well, it's our favorite music of that time, so I said, 'Why don't we call it ''Pet Sounds''?'" Wilson subsequently consulted Asher, who did not have a favorable reaction to the album's title, thinking that the name had "trivialized what we had accomplished".

In the 1990s, Brian credited Carl with the title. Carl said with uncertainty that the name might have come from Brian: "The idea he rianhad was that everybody has these sounds that they love, and this was a collection of his 'pet sounds.' It was hard to think of a name for the album, because you sure couldn't call it '' Shut Down Vol. 3''." Brian commented that the title was a "tribute" to Spector by matching his initials (PS). Wilson's 1991 memoir, '' Wouldn't It Be Nice: My Own Story'', writes that the title was inspired by Love asking "Who's gonna hear this shit? The ears of a dog?" Love denied the veracity of that claim.

Release

Rebranded image

In March 1966, the Beach Boys hired Nick Grillo as their personal manager following a move from Cummins & Currant to Julius Lefkowitz & Company. The band also recruited Derek Taylor, former press officer for the Beatles, as their publicist. According to Carl Wilson, although the band were aware that trends and the music industry were shifting, "Capitol had a very set picture" of the group that remained incongruous with how they wished to present themselves.

For updating the band's image with firsthand accounts of their latest activities, Taylor's prestige was crucial in offering a credible perspective to those outside Wilson's inner circle. Taylor said he was hired to take the band to "a new plateau", and to that end, he invented the tagline " Brian Wilson is a genius".

United States Capitol release

On March 7, the single "Caroline No" (B-side "Summer Means New Love"), was released as Wilson's solo debut, leading to speculation that he was considering leaving the band. The single peaked at number 32 during a seven-week stay. On March 21, "Sloop John B" (B-side " You're So Good to Me") was released as a single, credited to the Beach Boys, and reached number 3. After ''Pet Sounds'' was assembled, Brian brought a complete acetate to Marilyn, who remembered, "It was so beautiful, one of the most spiritual times of my whole life. We both cried. Right after we listened to it, he said he was scared that nobody was going to like it. That it was too intricate." Capitol executives were less impressed and discussed plans to scrap the album when they heard it. Following several meetings – the last of which had Brian appearing with a tape recorder and responding to their questions with eight pre-recorded responses – Capitol accepted the album as the Beach Boys' next LP.

''Pet Sounds'' was released on May 16 and debuted on the ''Billboard'' charts at 106. It sold 200,000 copies shortly thereafter. Compared to their previous albums in the US, ''Pet Sounds'' achieved somewhat less commercial success, peaking at number 10 on the ''Billboard'' LP chart, on July 2, during a ten-month stay. Although total sales were estimated at around 500,000 units, ''Pet Sounds'' was not initially awarded gold certification by the Recording Industry Association of America (RIAA) – a first for the group since 1963.

For the album's promotion in the US, Capitol ran full-page advertisements in ''Billboard'' that did not distinguish the record from earlier Beach Boys offerings and relied on the group's familiar public image instead of rebranding. This was also true for the promotional spots that were recorded by the Beach Boys themselves and disseminated to radio stations. Like they had done for previous spots, the members performed a comedy skit without any indication of what the record they were promoting sounded like. Instead, they relied on their name recognition. Johnston blamed Capitol for the album's underwhelming sales and alleged that the label did not promote the album as heavily as previous releases. Carl shared this view and said that Capitol did not feel a need to promote the band since they were getting so much airplay. Others assumed that the label considered the album a risk, appealing more to an older demographic than the younger, female audience the Beach Boys built their commercial standing on.

Within two months, Capitol assembled the group's first greatest hits compilation, '' Best of the Beach Boys'', which was quickly certified gold by the RIAA. Capitol A&R director Karl Engemann theorized that because the marketing department "didn't believe that ''Pet Sounds'' was going to do that well, they were probably looking for some additional volume in that quarter." There were reports that when record shops ordered copies of ''Pet Sounds'', they instead received ''Best Of''. On July 18, "Wouldn't It Be Nice" (B-side "God Only Knows") was released as a single, peaking at number 8 on September 2. ''Billboard'' ultimately ranked the album at number 43 on its "Top Pop Albums of 1966" list.

United Kingdom EMI release

In the UK, the band had little commercial success until March 1966, when "Barbara Ann" and ''Beach Boys Party!'' rose to number 2 on the nation's respective ''Record Retailer'' charts. In April, two singles were released: "Caroline, No" (no chart showing) and "Sloop John B" (number 2). In response to the band's growing popularity among the British, two music videos were filmed set to "Sloop John B" and "God Only Knows" for the UK's ''Top of the Pops'', both directed by Taylor. The "Sloop John B" video premiered on April 28.

EMI planned to release the record in November to coincide with the band's tour of Britain. From May 16 to 21, Bruce Johnston and Derek Taylor holidayed at central London's Waldorf Hotel with the intention of promoting the album around local music scenes. Thanks to the connections of London-based producer Kim Fowley, a number of musicians, journalists, and other guests (including John Lennon, Paul McCartney and Keith Moon) gathered in their hotel suite to listen to repeated playbacks of the album. Fowley said that they had arranged "a horde of press, so it looked like the Beatles had just arrived at La Guardia airport in 1964. Bruce Johnston was like Jesus Christ in tennis shoes, and ''Pet Sounds'' represented the Ten Commandments." Moon himself involved Johnston by helping him gain coverage in British television circuits, and connecting him with Lennon and McCartney.

Due to popular demand, EMI rush-released ''Pet Sounds'' on June 27. It peaked at number 2, and remained in the top-ten positions for six months. Taylor is widely recognized as having been instrumental in this success, due to his longstanding connections with the Beatles and other industry figures in the UK. The music press there carried a